Sunday, April 27, 2025
Within the everyday experience, there’s a deeper story to be told. For visual artist Robert Graham Carter, his art unearths the stories of the African American experience through the individuals and environments he depicts, bringing larger narratives to the surface.
Now on display at the Heckscher Museum of Art, visitors can explore over 22 figurative paintings, sculptures and drawings that explore his reflections on childhood, spirituality, the black church, and societal inequities. The exhibition, “Robert Graham Carter: The Art of Reflection,” celebrates not only his talents but his involvement with Long Island’s art scene — particularly the Heckscher, where Carter made history in 1973 as the first African American artist to receive a solo show.
Born in Louisville, Ky. in 1938, Carter witnessed firsthand life during the Jim Crow South. Later, he went to the University of Louisville with many internationally known artists today such as Sam Gilliam, Bob Thompson and Kenneth Young.
“They actually formed an arts collective called the Gallery Enterprises when they were in college. This collective was important because the city was recently desegregated. There were socially not that many opportunities for artists to exhibit their work if they were artists of color,” guest curator Sarah Battle says. “The Gallery Enterprises created those spaces.”
Carter became known for his striking figurative art — often in mixed mediums —that depicted his life experience as an African American man while drawing inspiration from the people around him.
“He’s going to showcase a memory, or illustrate people — everyday people — in his life that he either wants people to be thinking about, to elevate, or just to offer another perspective on the topic at hand,” Battle, research curator at Louisville’s Speed Art Museum, explains.
Drawing influence from his upbringing, Carter’s works balance personal and universal truths, with a focus on topics that connect to the experiences of African Americans. His art addresses the joy and importance of family, the legacy of segregation, the charm of childhood, the spiritual and corporal force that is the Black church, and the impression of Blackface on American culture.
“Figures are the carriers of my thoughts, messages, or ideas, they are my stories,” Carter explained in an email. “For me, it’s the best way to tell the story or to give value or a sense of texture to a meeting or setting.”
In his untitled pencil and pastel drawing from the 1970s, Carter shows his mastery through his depiction of two children, one white child and one African American child with empty thought bubbles above their head as they gaze at each other.
“This piece inspired the education team at the Hecksher to create an activity for people to think about the sorts of conversations these two children could be thinking or saying to each other, and what sorts of ways these conversations might have changed over time,” Battle says.
Carter also found a niche in using wood in his creations.
“It started with me being attracted to the brightness of the paint and the subdued quality of the wood,” Carter went on in his email. “I thought color placed against this kind of texture and tone would stand out. If you had a bright blue or bright red against a dull gray, the gray would make the color even stronger.”
His use of texture is on full display in his “If Der Be Angels, Den Sum Mus Look Like Me, 2000s,” where Carter postulates spiritual inclusivity within the religious narrative.
“This piece is of an angel. The wings of the angel are made up of these wood slits. They’re painted in bright colors that make it appear that the wings are very full and three-dimensional,” Battle says.
“They’re just layers of these wood pieces that create such beautiful interiors or beautiful figures.”
Carter moved to Long Island in 1968 and joined Nassau Community College where he taught in the art department for over 50 years. Archival items such as newspaper clippings and letters included in the exhibit show the impact of his identity as an educator and artist in the local art scene — and throughout the country.
“When I retired, a formal written notice was required. In my notice, I wrote an anecdote ‘I explained the problem, and no one understood it. I explained the problem again, and no one understood it. I explained it a third time, and I understood it.’ It’s a short gimmicky way of saying I am bettered for having taught others,” Carter further explained.
His legacy of creating and inspiring art here and beyond is a testament to his enduring craft.
“This is a wonderful opportunity for the local arts community if they don’t know his work already, to see a number of great examples, as well as draw more national attention to his living legacy,” Battle adds.
“This exhibition not only offers visitors a chance to see art made throughout Carter’s career, but it also makes space to honor his living legacy as an artist educator. This solo show highlights some of his early influences in Louisville, Kentucky as well as his impact on artists in Nassau County and beyond.”
